Item description for Let Those Who Have Ears to Hear: If They Took the Music Away...Would You Still Follow Jesus? by Kimberly Smith...
Overview Contemporary Christian music has long been the subject of heated debate among believers. Often those who defend it have no solid backing for their beliefs. Kim Smith?s book Let Those Who Have Ear to Hear delves into the issue to see what Scripture has to say and challenges believers to re-align their opinions with the Word of God.
Publishers Description Let Those Who Have Ears to Hear continues the discussion started in the book, Oh, Be Careful Little Ears, with more thought-provoking insights. For example... Did you know that secular rock musicians' comments about the "beat" support the conclusion that it's "musical pornography"? Did you know that rock music is purposely designed to appeal to our carnal self--regardless of the lyrics? Did you know that there are specific, identifiable musical techniques which "feed the flesh"? Did you know that contemporary Christian music (CCM) uses these same techniques? You will learn...when drums are "right"; when drums are "wrong"; how the term "contemporary music" applies throughout history and why CCM is different; steps to help you and your family begin to discern music; and much more. This book also gives solid, biblical answers to refute fifty common defenses (excuses) by proponents of contemporary Christian music in the chapter, "What We Believe is Our Truth." Some of the statements answered are: "People are saved at CCM concerts"; "The music makes me feel closer to God"; "Where in the Bible does it say a certain beat is wrong?"; "Psalm 33:3 says we're to sing 'a new song' to the Lord"; "It's all relative; everyone has his or her own tastes," and many more. Eight more chapters which discuss the adverse effects that CCM has had on the Church include: "The Voice of the Harlot," "Cool Is Not a Fruit of the Spirit," and "Where Do We Draw the Line?" Although written as a follow-up to Oh, Be Careful Little Ears, Let Those Who Have Ears stands alone, as well.
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Studio: Winepress Publishing
Est. Packaging Dimensions: Length: 8.28" Width: 5.53" Height: 0.47" Weight: 0.58 lbs.
Release Date Jan 1, 2001
Publisher WINEPRESS PUBLISHING #1453
ISBN 1579213189 ISBN13 9781579213183
Availability 1 units. Availability accurate as of Jan 17, 2017 02:17.
Usually ships within one to two business days from Roseburg, OR.
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More About Kimberly Smith
Kimberly Smith is an accomplished entrepreneur and businesswoman with more than 20 years experience in the real estate and corporate housing industries. In 1999 Kimberly and her husband and business partner, Eric, started AvenueWest Corporate Housing, Inc., that today is a multi-million dollar company providing furnished corporate housing and property management services to upscale business travelers. A recognized leader in the industry, they were awarded CHPA's 2010 Provider Company of the Year Award and listed for 3 consecutive years on Inc Magazine's Inc 5000 list featuring the countries fastest growing businesses. Inspired to help people find corporate housing and real estate solutions on a national basis, Kimberly and Eric came up with a business idea to create a national web directory dedicated to connecting furnished rental properties with corporate renters. In 2006 the couple launched CorporateHousingbyOwner.com (CHBO), the first-of-its-kind online portal that connects furnished rentals and the traveling public. In 2013 CHBO was recognized by CHPA as the Associate Company of the Year. In 2009, they founded AvenueWest Global Franchise, allowing them to expand the AvenueWest Managed Corporate Housing product throughout the United States. They now have offices in Phoenix, Atlanta, Fort Collins, San Francisco, Boston, Dallas, Denver and Colorado Springs. Kimberly continues to lead in the corporate housing industry and served as the 2011 elected Chairman of the Board of Directors for the Corporate Housing Providers Association (CHPA), the primary trade organization for the corporate housing industry. Kimberly has been nationally recognized for her business success and her philanthropic endeavors and is frequently featured in media sources like the NYTimes, LA Times, Denver Post, US News & World Report, MSNBC.com, CNBC and SmartMoney.com. She was awarded the 2013 Denver Business Journal's Outstanding Women in Business award for real estate, small business finalist in 2010, and finalist in the prestigious Power Book special section of The Denver Business Journal, a feature in Denver Woman magazine as an outstanding business woman and mother, in 2009 she was selected to join The Denver Business Journal's elite class of 40 under 40 and in 2010 and was recognized by CoBiz Magazine as a top 5 GenXYZ leader.
Kimberly Smith currently resides in St. Charles, in the state of Missouri.
Kimberly Smith has published or released items in the following series...
Reviews - What do customers think about Let Those Who Have Ears to Hear?
must read Feb 13, 2008
both her books are super and should be read by all ...churches considering major changes in format and worship service should consider this book.
The Sequel to the Original Book Dec 26, 2005
"One doesn't have to have music degree to understand how certain types of music appeal to our flesh." This highly convincing sequel to Smith's previous book "Oh Be Careful Little Ears," further explores sensuality in music and how we need to deny our flesh and not feed it in worship. This is reccomended reading for every church.
Easy to put bitter for sweet, sweet for bitter in music Jan 19, 2004
Nowhere is it easier to "put bitter for sweet and sweet for bitter" (cf. Isaiah 5:20) than in music. Certainly this book and its prequel by Kimberly Smith (and some of the customer reviews written about both) prove the point. Even more do some customer reviews of certain other products.
Nevertheless, every reader of this book and other books of this genre needs to face the fact that music has what the Greeks called =ethos= or "moral force". Whether we =enjoy= how a specific style of music affects us or not is absolutely beside the point. Different elements of music, and different combinations of those elements, have specific and predictable effects on human beings, many of them now clinically measurable. There may be no disputing about taste, but taste is an unreliable guide of itself as to what is "good" in music. Nor may we look to style alone, for styles change from time to time and from culture to culture.
I believe the most important point Mrs. Smith makes is that music, and especially so-called sacred music, that provokes the carnal, sensual passions of human nature should be avoided. Those who claim to be Christians and yet perform or listen to music that defies the instructions given in Romans 13:11-14 and elsewhere (usually on the poor excuse that they =enjoy= music that stimulates such passions) are living in a fool's paradise. We must not confuse mere sensuality with spirituality, and Mrs. Smith gives (along with many direct answers to objections from CCM supporters) many straightforward, practical guidelines for ensuring that we do not. (Her tables on pages 183-184 give a useful, if somewhat simplistic, summary toward that end.)
This is not to say (as Mrs. Smith apparently does) that there are some things that are =inherently evil= in music. Medieval theorists rejected the dissonant tritone interval, whether melodic or harmonic, as "the devil in music". Mrs. Smith rejects the anapestic (weak-strong) rhythmic foot out of hand as likewise inherently evil (because its =constant repetition= is indeed sensual). But the original music of the Hebrew Bible -- to which she alludes very, very briefly while citing another publication that features it (p. 109 and footnote: "The Music of the Bible Revealed", sold elsewhere on this site.com) -- not only uses at times the tritone, but the Hebraic equivalent of the anapest, in order to bring out the meaning and expression of the words. Simply because our rock and rock-derived music ultimately draws its anapestic rhythms from African and Caribbean pagan music does not mean that the anapest, of itself, is evil. That would be simply ascribing guilt by association. The anapest, like the tritone, is merely =agitating= by nature -- and there are times when such agitation for effect is appropriate.
Moreover, not all styles of contemporary music are totally out of keeping with biblical example and principle. With appropriate revision, they can be used to Godly effect. In the words of one of my own Bible teachers: "Usually it is not the thing, but the =use= of the thing, that is good or evil." The moral force of music lies not in any one element, but in how those elements are combined and in what order. With that clarification, Mrs. Smith's thought-provoking and generally helpful book would be greatly improved.
Some Good Points, Some Wrong Logic Oct 7, 2003
It is difficult to argue with the main point of this book and its predecessor, Oh, Be Careful, Little Ears, which argues that contemporary Christian music is not appropriate for worship due to its similarities with secular rock music. Smith's main point is that CCM uses the same musical techniques as much of secular pop and rock music of the day. As such, believers should reexamine its value as a method of worship. She goes as far as to say that CCM is wrong for the church for this reason, and I would say that I could agree with that, in that music perceived as secular is not appropriate for worship service.
However, Smith also attempts to illustrate that certain musical techniques are evil by their very nature. (Jazz and some classical music are also on trial here.) In the predecessor to this book, Smith posits that there are acceptable standards for all music. The thinking is that there must be acceptable standards for the sound of a musical piece, since we worship a God of order and righteousness.
This is where her arguments break down. The author offers little other reasoning for her position besides that already mentioned, and one wonders exactly who it is that discerns whether an odd time signature is evil or unacceptable in and of itself, for example. Here's the rub: after making these claims, the author offers some suggestions of secular music that meet with her musical stamp of approval. While that is all fine and good, the adjectives used to describe the recommended pieces include the words 'nice' and 'cute'. If someone could please provide a more subjective term than 'cute', I would be interested in knowing what it is for my own education.
Would I want to play rock music while in the presence of a holy God in a worship service? Admittedly, no, but then again I would not want to be watching "The Jungle Book" or "Bambi" either. Movies that most would agree are family friendly, but not appropriate for worship.
I have a feeling that this book is for those that are already disgusted with the CCM movement. While I agree that CCM is not an appropriate style of worship, I take exception to the assertion that certain musical properties can be wrong in and of themselves. Smith has not made a very convincing or persuasive argument for her position on the moral standing of music as an art medium.
A great help for parents of teens Sep 12, 2002
We recommend this to Christian parents who have any doubts, no matter how small, about the CCM industry and the place of rock music in our lives. With three teens of our own who sometimes 'push the envelope' of music styles, we appreciated Kim's plain-spoken message and her warnings. The information about music she shares was easily understood by us and our teens.